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Thread: 9th inversions

  1. #1
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    9th inversions

    I was learning about chord soloing and therefore learned all of the 4 note inversions of the maj7 min7 min7b5 and diminished chords on the fret board. I'm having difficulty doing this with 9ths... can someone help me out?

  2. #2
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    well of course after i post i finally get it... if anybody else is curious about this my arrangement of the notes was: 1379 9713 3197 7931... just going up the chord.

  3. #3
    iBreatheMusic Modthor phantom's Avatar
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    the maj7 min7 min7b5 and diminished chords
    where is the dominant chord?

    1379 9713 3197 7931..
    where is the fifth?



    i'd recommend doing the drop2 voicings as well! they helped me bigtime.

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    eh, I knew I'd forget to type one of them...

    I decided to not add the 5th b/c I was focusing on using the top 4 strings. Plus the fifth is not one of the important notes and usually is unnecessary.

    I definitely will work on the drop 2 voicings

  5. #5
    Registered User SkinnyDevil's Avatar
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    Yeah, those drop 2s are great for country music (hahaha!!!).

    OK, bad joke. The meds made me think it was hilarious, but then came the moment of clarity...

    Anyway, just wondering why those minor triads w/ major 7 get left out in the cold in discussions of 7th chords?
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  6. #6
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    Quote Originally Posted by SkinnyDevil
    Anyway, just wondering why those minor triads w/ major 7 get left out in the cold in discussions of 7th chords?
    Minor/Maj 7th is 99% of the time is a sub for a minor 7th, in the same way a dom7sus4 is a sub of a dom7...one of the most important notes ie 3rd or 7th have been changed. Also, in the min/Maj 7ths case, it is no longer diatonically correct which is how we usually go about describing the 4 basic types of 7th chords. As soon as you start mentioning possible subs for your basic 7th chords the sky is the limit.

    Plus, not too many people want to sound like their in a smokey jazz club in the 70's...but they do have their place, right beside the Maj7#5 and min7#5.

  7. #7
    Resident Curmudgeon szulc's Avatar
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    Since the Dim7 is really a plural for 7b9 (with no root), you can raise any tone
    of a Dim7 form and it will become the 9 of a Dom9 chord (with no root).
    Since Dim7 is 1,b3,b5,bb7 and m7b5 is 1,b3,b5,7 the same form of Dim7 with a raised tone gives m7b5 (the raised tone becomes the b7)
    These create drop-2 voicings from standard dim7 forms. Then you can raise the b7 to create a Maj9 or lower the M3 to create a m9. You can lower any tone of a Dim7 and it becomes the root of a Dom7, then lower the M3 to create m7 or lower 5 to create 7b5 or raise 5 to create 7#5.
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  8. #8
    Registered User SkinnyDevil's Avatar
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    Minor/Maj 7th is 99% of the time is a sub for a minor 7th, in the same way a dom7sus4 is a sub of a dom7...one of the most important notes ie 3rd or 7th have been changed. Also, in the min/Maj 7ths case, it is no longer diatonically correct which is how we usually go about describing the 4 basic types of 7th chords. As soon as you start mentioning possible subs for your basic 7th chords the sky is the limit.
    Well said. I just tend to be overly "exhaustive" when I break it all down for my students, so I cover dom7, maj7, min7, and min/maj7 before i move on. In fact, I do those before I even get to aug & dim chords - mostly because the majority of them are doing popular songs. Since you get dom7s & min7s a lot, plus maj7s in everything from "Stairway to Heaven" to various Neil Young songs, and the occassional min/maj7 in Joe Walsh and some of that lounge 70s music (hahaha!!!), they get some immediate us for them.

    That said, I should probably at least expose them to the other stuff first. I'm probably going about things in an unorderly fashion.

    Thanx for the info!
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